Vampire Darcy: The Impossible Romantic Hero

2020 ◽  
Vol 53 (4) ◽  
pp. 829-849
Author(s):  
Eric Parisot
Keyword(s):  
Romantic Hero

Conflicting obituaries: the Abyssinian ‘outlaw’ Debeb as treacherous bandit and romantic hero in late nineteenth-century Italian imagination

Modern Italy ◽  
2014 ◽  
Vol 19 (4) ◽  
pp. 405-419
Author(s):  
Stephen C. Bruner
Keyword(s):  
Nineteenth Century ◽  
National Character ◽  
The Other ◽  
Late Nineteenth Century ◽  
Romantic Hero ◽  
Public Persona ◽  
Public Debates ◽  
Folk Hero ◽  
The Subject ◽  
Late Nineteenth

In 1886 the Abyssinian chief Debeb became a public figure in Italy as a rapacious colonial bandit. However, over the next five years he acquired additional public personas, even contradictory ones: as a condottiero ally, a ladies’ man, a traitor, a young Abyssinian aristocrat and pretender to an ancient throne, a chivalrous warrior, and a figure representing the frontier and an Africa mysterious and hidden to Europeans. Upon his 1891 death in combat, he was the subject of conflicting Italian press obituaries. For some commentators, Debeb exemplified treacherous and deceitful African character, an explanation for Italy's colonial disappointments and defeats. However, other commentators clothed him in a romanticised mystique and found in him martial and even chivalrous traits to admire and emulate. To this extent his persona blurred the line demarcating the African ‘other’. Although he first appeared to Italians as a bandit, the notion of the bandit as a folk hero (the ‘noble robber’ or ‘social bandit’, Hobsbawm) does not fit his case. A more fruitful approach is to consider his multi-faceted public persona as reflecting the ongoing Italian debate over ‘national character’ (Patriarca). In the figure of Debeb, public debates over colonialism and ‘national character’ merged, with each contributing to the other.

A new type of romantic hero of C.G. Byron’s poem “Childe Harold’s Pilgrimage”

2021 ◽  
Vol 73 (12) ◽  
pp. 16-21
Author(s):  
İlhamə Saleh qızı Rüstəmova ◽  
Keyword(s):  
Romantic Hero ◽  
New Type

“Çayld Haroldun ziyarətləri”, Lord Bayron tərəfindən dörd kantoda yazılmış avtobioqrafik əsərdir. I və II kantolar 1812-ci ildə, III kanto 1816-cı ildə, IV kanto isə 1818-ci ildə nəşr olundu. Bayron özünün poetik şöhrətini ilk iki kantonun nəşri ilə qazandı. Dünya ədəbiyyatında Çayld Harold romantik qəhrəmanın etalonudur. Gündəlik həyatdan bezmiş cazibədar gənc həyatın mənasını duymaq üçün naməlum ölkələrə üz tutur. Poema geniş şəkildə təqlid edildi və Bayronun təbii gözəllik səhnələrini düşünərkən həzin xəyallara dalan sərgərdan qəhrəmanının kultuna töhfə verdi. Onun avtobioqrafik subyektivliyi təkcə ədəbiyyata deyil, musiqi və rəssamlıq sənətinə də geniş təsirə malik oldu və Avropa romantizminin güclü tərkib hissəsinə çevrildi. Açar sözlər: romantizm, romantik qəhrəman,azadlıq, şöhrət, təqlid etmək

Wagner and the Romantic Hero. By Simon Williams. Cambridge: Cambridge University Press, 2004; pp. 193. $75 cloth.

2005 ◽  
Vol 46 (1) ◽  
pp. 157-159
Author(s):  
Herbert Lindenberger
Keyword(s):  
Nineteenth Century ◽  
Richard Wagner ◽  
Cambridge University ◽  
The Past ◽  
Romantic Hero

Wagner has proved more fortunate than other opera composers in the liveliness, variety, and intellectual enterprise of his critical interpreters during the past decade or two. One need only cite Thomas Grey's study of the composer's aesthetics in Wagner's Musical Prose (1995); Carolyn Abbate's deconstruction of his narrative passages in Unsung Voices (1991); and Marc Weiner's analysis of how nineteenth-century racial codes shape the operas in Richard Wagner and the Anti-Semitic Imagination (1995) to note the range of approaches that have been applied to him.

Wagner and the Romantic hero

2005 ◽  
Vol 42 (06) ◽  
pp. 42-3329-42-3329
Keyword(s):  
Romantic Hero

Marlowe's Tamburlaine and the Language of Romance

PMLA ◽  
1978 ◽  
Vol 93 (2) ◽  
pp. 248-264 ◽  
Author(s):  
Richard A. Martin
Keyword(s):  
Material World ◽  
Romantic Hero ◽  
The World

The tone of Marlowe’s Tamburlaine, Parts I and II, has long troubled critics who have approached the plays as either tragedies or romances. This article argues, on the basis of our responses to Marlowe’s language, that each play attempts to define itself as a romance by asserting the mastery of the imagination over the material world and thus denying the effects of tragic realism. Marlowe creates a language that invites us to indulge in the glorification of worldly achievement in spite of the questionable morality of worldliness. In Part I, Marlowe demonstrates that the world of romance is a world of the imagination and, as such, free from the tragic concerns of a problematic humanity. In Part II, Marlowe moves closer to tragedy by exploring the possibilities of romance within a world where the imagination does not triumph and where the attitude toward the romantic hero is left ambiguous.

scholarly journals ТРАНСФОРМАЦИЯ РОМАНТИЧЕСКИХ МОТИВОВ В РОМАНЕ ПАТРИКА ЗЮСКИНДА «ПАРФЮМЕР»

2019 ◽  
Vol 3 (93) ◽  
pp. 117-128
Author(s):  
С.Л. Лобзова
Keyword(s):  
Cultural Context ◽  
Point Of View ◽  
German Language ◽  
Main Function ◽  
The Novel ◽  
Main Character ◽  
Second Stage ◽  
Modern Novel ◽  
The Enlightenment ◽  
Romantic Hero

The article attempts to highlight the main romantic motifs that the modern German writer Patrick Süskind used in his novel Perfume: The Story of a Murderer. Symbolic for the contemporary cultural context figurative semantic constants (genius, loneliness, rejection, godlessness, etc.) are assigned to such motifs. The ways and means of rethinking romantic motifs in a modern novel are determined, the specifics of their transformation in a postmodern text is analyzed. The similarities between the work of Süskind and popular upbringing novels in the Enlightenment are noted: the main character of the modern German writer goes through the thorny path of formation, he improves his gift, thanks to which he hopes to change the world, subjugate other people to himself. The parody evangelical allusions that contribute to the deconstruction of the romantic figure of an unrecognized genius are analyzed. The postmodernist writer debunks and ridicules the hero, turning the imaginary king into a jester. Unlike the romantic hero, whose main function was to broadcast the divine will, Jean-Baptiste Grenouille refutes the truth of the Absolute by his existence and the ingenious gift inherent in him by nature. The article concludes that Süskind refers to a stable romantic model, implemented many times in literature and art, setting his own accents in his own way, bringing the romantic structure to its limit. This model goes through the second stage in its development, according to the Hegel’s triad, namely, the negation of negation, when any phenomenon turns into its opposite. Refuting the well-known Pushkin’s claim that “genius and villainy are two incompatible things”, the writer at the same time comes to the conclusion that evil, even without meeting a worthy opponent, is destructive to himself. We see further research prospects in the study of the novel in the context of the work of Süskind and modern German-language literature from the point of view of transforming the romantic tradition in the post-modern text.

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